‘Heart-felt, humane and to the point. On occasions
one image equals one thousand words. Naomi
Alexander delivers just that.’

Anthony Green RA (2014)

‘It is my belief that the most important thing for
an artist is to discover ones own language and
undoubtedly Naomi Alexander has a language
of her own.’

Professor Ken Howard OBE RA

‘Naomi Alexander puts down what she sees into her
sketchbook with watercolour or pencil, directly and
unaffectedly. With the utmost economy of means,
we get the story.’

Dame Paula Rego DBE RA (1997)

Naomi with her Leonberger, Potemkin, in her studio, 2015

Selected
Reviews/Commentaries on Naomi's Work:

'...The studio paintings, both her own and those of other artist friends in whose studios she has also worked at one time or another – notably Paula Rego and Ken Howard – are a rather different story again – quiet, light-filled professional spaces. In many, she includes herself, either directly or as a reflection in a mirror, but even so they become intimate and contemplative, like that depicting her own studio, with its rackety old whitepainted boudoir cupboard covered with reference books, a jar of flowers, its mirror reflecting the plethora of pictures hanging on the walls around.

We somehow know her through this simplicity and open directness. As with the world of feeling and memory which the poet dissects into words, and then reconstructs, so with these interiors in which Naomi Alexander allows objects and accumulations to give shape and meaning to her own understandings of her life – a process of quiet and cumulative discovery.'

Nicholas Usherwood 2015
Author, Editor, Journalist and Curator

'...On her travels she accumulates images of deserts, parks, gardens,
homes and people. She brings them all back to the studio where they
can live. They lie about in her sketchbooks, sometimes being useful,
sometimes even making it into her pictures- but more often the initial
candid gaze gives way to a more knowing look…

In the large pictures, the difficulties ol composition. daily routine
and sluggish effort do not permit such unguarded spontaneity. In these
pictures we witness the accumulated experience of a lifetime - that
baggage which takes up so much room and weighs a ton. Here, the streaky
paint conveys the threatening environment and the passing of time:
little girls push against a barrage of solid middle-aged bodies or
play at being ghosts in an already haunted garden.

The good girl stares out from a paddling pool at the spreading shadow
of a scarecrow.'

Dame Paula Rego 1997Painter DBE RA

'Though she is in many obvious ways a very
painterly painter, it seems to me that everything
in Naomi Alexander’s work comes down basically
to draughtsmanship. It is not only that she has a
natural understanding of how to capture the shape
and solidity of objects and people in line, but that
her compositions themselves are always dictated
by a strong instinct for graphic form.’